2
" The theological perspective of participation actually saves the appearances by exceeding them. It recognizes that materialism and spiritualism are false alternatives, since if there is only finite matter there is not even that, and that for phenomena really to be there they must be more than there. Hence, by appealing to an eternal source for bodies, their art, language, sexual and political union, one is not ethereally taking leave of their density. On the contrary, one is insisting that behind this density resides an even greater density – beyond all contrasts of density and lightness (as beyond all contrasts of definition and limitlessness). This is to say that all there is only is because it is more than it is. (...)
This perspective should in many ways be seen as undercutting some of the contrasts between theological liberals and conservatives. The former tend to validate what they see as the modern embrace of our finitude – as language, and as erotic and aesthetically delighting bodies, and so forth. Conservatives, however, seem still to embrace a sort of nominal ethereal distancing from these realities and a disdain for them. Radical orthodoxy, by contrast, sees the historic root of the celebration of these things in participatory philosophy and incarnational theology, even if it can acknowledge that premodern tradition never took this celebration far enough. The modern apparent embrace of the finite it regards as, on inspection, illusory, since in order to stop the finite vanishing modernity must construe it as a spatial edifice bound by clear laws, rules and lattices. If, on the other hand, following the postmodern options, it embraces the flux of things, this is an empty flux both concealing and revealing an ultimate void. Hence, modernity has oscillated between puritanism (sexual or otherwise) and an entirely perverse eroticism, which is in love with death and therefore wills the death also of the erotic, and does not preserve the erotic as far as an eternal consummation. In a bizarre way, it seems that modernity does not really want what it thinks it wants; but on the other hand, in order to have what it thinks it wants, it would have to recover the theological. Thereby, of course, it would discover also that that which it desires is quite other than it has supposed "
― John Milbank , Radical Orthodoxy: A New Theology
9
" High Pasture
Come up--come up: in the dim vale below
The autumn mist muffles the fading trees,
But on this keen hill-pasture, though the breeze
Has stretched the thwart boughs bare to meet the snow,
Night is not, autumn is not--but the flow
Of vast, ethereal and irradiate seas,
Poured from the far world's flaming boundaries
In waxing tides of unimagined glow.
And to that height illumined of the mind
he calls us still by the familiar way,
Leaving the sodden tracks of life behind,
Befogged in failure, chilled with love's decay--
Showing us, as the night-mists upward wind,
How on the heights is day and still more day. "
― Edith Wharton
12
" Spare parts lay scattered, every turn wrought with twisted dread, all over the ground, the rooftops, and they were still. Some moving, twitching, enough to almost see. Half cracked and shattered, but still visible and eerie, smiles spread wide and thin, teeth decayed and not, paralleled by hollowed, some missing or in other places, eyes of shades green and blue and some brown with red, but no white, just color portrayed, even if it may be dampened in every way. The beauty in the frivolity, the polished shining gears and cracked glass illuminated so brightly, create a portrait of terror and wonder, significance of a different sort, that only human eyes can see and human minds can feel, but all this is something only dreams, the ethereal concepts that fuse and mince chaos and order into a more paradoxical state, can create and fathom and fashion and make. And yet, doubts upon anxious contradictions, my fingers can feel the brokenness of what can be witnessed, an abyss within a void where deeper within the still lies a glow, a half pulse of a flutter, a vein of mimicry of the reverse of all I see, with concave eyes lost in the magnitude of image whole. Massive and monumental, my feet dragged behind me, cuts in the dirt and spiraling tracks. And then I awoke, half my world disappeared. So much empty within the whole, holes of sizes big and small and all between, the loss of, what it was to be called, my dream. And then my life ended, the holes and tears and cracks complete, empty eyes can still see so clearly, the nothingness that everything has become, shadow and matte a combination of dark on black, in the nothingness that all has become, it is all complete in a way opposite of what I know, a world different in every way and stretch I see, vision upon view of different and strange, only when empty eyes, longing for purpose dreading its meaning, gaze upon their own reflection will the last piece fall into place, a round puzzle of pieces triangular and square, the completeness in the nothingness can be seen, mind flooded with wonder, envisioning the antonym of a dream, and what, in this new beginning, this all could mean. With a blink it all changes, incomplete images appear, holes are wide and seen because you are back now, between death and dream, interwoven as an integral part of this necessary in between seam, and when you touch, worry creases the brow, their faces, half real and the other untouchable, your hand passes through their skin, penetration of the most intimate sort, holding their hearts as if for sport. The warmth, the beating, the crimson piercing blood, so beautiful, the engine that we run, pumping and pumping only to cause the most dreaded flood. Now I drown, and I see you drown too. Together, we are, for split seconds few, we are torn apart and disappear in this vast blood red hue. "
13
" An outline, my body, no mass or feeling, A dark reflection spread from floor to ceiling, The faceless copycat stalks me day after day, A personal eclipse of the sun never going astray, Each movement mine in a world of its own, Whispering shades unseen of a different home, A skewed yet comparable story occurs every day, Removed, though not far, less than halfway, The whiter the glow the blacker the stain, An ethereal cachet remaining midst the acidic rain, A trust and intimacy of a curious nature, I follow, it follows, we follow a stranger. "
14
" How very lovable her face was to him. Yet there was nothing ethereal about it; all was real vitality, real warmth, real incarnation. And it was in her mouth that this culminated. Eyes almost as deep and speaking he had seen before, and cheeks perhaps as fair; brows as arched, a chin and throat almost as shapely; her mouth he had seen nothing to equal on the face of the earth. To a young man with the least fire in him that little upward lift in the middle of her red top lip was distracting, infatuating, maddening. He had never before seen a woman’s lips and teeth which forced upon his mind with such persistent iteration the old Elizabethan simile of roses filled with snow.
Perfect, he, as a lover, might have called them off-hand. But no — they were not perfect. And it was the touch of the imperfect upon the would-be perfect that gave the sweetness, because it was that which gave the humanity. "
― Thomas Hardy , Tess of the D'Urbervilles
15
" Whose but his own? ingrate, he had of mee
All he could have; I made him just and right,
Sufficient to have stood, though free to fall.
Such I created all th’ Ethereal Powers
And Spirits, both them who stood and them who fail’d;
Freely they stood who stood, and fell who fell.
Not free, what proof could they have giv’n sincere
Of true allegiance, constant Faith or Love,
Where only what they needs must do, appear’d,
Not what they would? what praise could they receive?
What pleasure I from such obedience paid,
When Will and Reason (Reason also is choice)
Useless and vain, of freedom both despoil’d,
Made passive both, had served necessity,
Not mee. They therefore as to right belong’d,
So were created, nor can justly accuse
Thir maker, or thir making, or thir Fate;
As if Predestination over-rul’d
Thir will, dispos’d by absolute Decree
Or high foreknowledge; they themselves decreed
Thir own revolt, not I; if I foreknew
Foreknowledge had no influence on their fault,
Which had no less prov’d certain unforeknown.
So without least impulse or shadow of Fate,
Or aught by me immutable foreseen,
They trespass, Authors to themselves in all
Both what they judge and what they choose; for so
I form’d them free, and free they must remain,
Till they enthrall themselves: I else must change
Thir nature, and revoke the high Decree
Unchangeable, Eternal, which ordain’d
Thir freedom: they themselves ordain’d thir fall. "
― John Milton , The Complete Poems and Major Prose
19
" Faustus, who embraced evil and shunned righteousness, became the foremost symbol of the misuse of free will, that sublime gift from God with its inherent opportunity to choose virtue and reject iniquity. “What shall a man gain if he has the whole world and lose his soul,” (Matt. 16: v. 26) - but for a notorious name, the ethereal shadow of a career, and a brief life of fleeting pleasure with no true peace? This was the blackest and most captivating tragedy of all, few could have remained indifferent to the growing intrigue of this individual who apparently shook hands with the devil and freely chose to descend to the molten, sulphuric chasm of Hell for all eternity for so little in exchange. It is a drama that continues to fascinate today as powerfully as when Faustus first disseminated his infamous card in the Heidelberg locale to the scandal of his generation. In fine, a life of good or evil, the hope of Heaven or the despair of Hell, Faustus stands as a reminder that the choice between these two absolutes also falls to us. "
― E.A. Bucchianeri , Faust: My Soul Be Damned for the World Volume 1
